Classical Myth in Alfred Hitchcock's Wrong Man and Grace Kelly Films

Mark Padillas classical reception readings of Alfred Hitchcock's films explore how they are informed by the educational and cultural classicism of the director's formative years. The analysis organizes the material into two triptychs, one focused on the three films sharing a wrong man pattern, and the other treating the films starring Grace Kelly. Each chapter finds its narrative archetype in classical sources, such as Homers Odyssey, The Homeric Hymn to Aphrodite, and The Homeric Hymn to Aphrodite.

Format: Hardback
Length: 412 pages
Publication date: 12 December 2018
Publisher: Lexington Books

Mark Padilla's classical reception readings of Alfred Hitchcock's films offer a profound exploration of the director's most beloved and significant works, shedding light on how they are deeply influenced by the educational and cultural classicism of Hitchcock's formative years. The six close readings commence with discussions of the production histories, aimed at theorizing and clarifying how classicism could and did permeate the projects. By examining the films through a classical lens, a wealth of new themes and ideological investments emerge, enriching our understanding of both Hitchcock's storytelling creativity and the profound expressionism of classicism, particularly in the realms of Greek myth and art.

The analysis is structured into two triptychs. The first focuses on the three films that share a common narrative pattern: a wrongly accused man goes on the run to clear his name. Chapter One, on The 39 Steps (1935), delves into the origins of this plot in early 20th-century British classicism, highlighting how the film employs motifs from Homer's Odyssey. Chapter Two, on Saboteur (1942), explores the impact of Hitchcock's memories of the formalism and myths associated with the Parthenon sculptures housed in the British Museum. Chapter Three, on North by Northwest, engages with the myths of the hero Oedipus, drawing upon early Greek epic, Freudian psychology, Nietzschean philosophy, and Sophocles' plays. Chapter Four, on Dial M for Murder (1954), returns to Homer's Odyssey in its interpretive use of "the lay of Demodocus," a story about the sexual triangle involving Hephaestus, Aphrodite, and Ares. Chapter Five, on Rear Window (1954), finds its narrative archetype in The Homeric Hymn to Aphrodite, while the erotic theme of Sirius, the Dog Star, also plays a significant role.

Through these meticulous readings, Mark Padilla provides a fresh perspective on Hitchcock's films, unveiling the intricate connections between classicism and the director's artistic vision. His analysis not only deepens our appreciation of Hitchcock's craftsmanship but also sheds light on the broader.

Weight: 758g
Dimension: 160 x 235 x 30 (mm)
ISBN-13: 9781498563505